Director Ole Christian Madsen on Flame and Citron
By James McCaskill, DC Film Society Member
Flame and Citron (Flammen & Citronen, Ole Christian Madsen, Denmark/Germany, 2008) was shown at the 2008 Toronto International Film Festival and had a one-week run at Landmark's E Street Cinema in December. The following are comments from their catalogue and Director Madsen's Q&A following the screening.
Ole Christian Madsen returns to the Festival with a work radically different in scope than those Toronto audiences previously viewed. Unlike his intimate domestic dramas Kira's Reason and Prague, Flame and Citron is a sprawling World War II epic about the Danish resistance against Nazi occupation. In terms of sensibility, however, the film is very much in harmony with Madesen's earlier work, driven by his fine tuned awareness of uncomfortable truths, deceit and betrayal.
His heroes are Bent (Thure Lindhart) and Jergen (Mads Mikkelsen), better known in Denmark by their code names Flame and Citron. As the key assassins for the Resistance, they were responsible for eliminating dozens of Danish collaborators and, eventually, Nazi officers. But as Madsen shows, Flame and Citron were not conventional heroic types, nor were their actions as clear-cut as several generations of Danes believed.
Inspired in part by Jean-Pierre Melville's legendary L'Armee des ombres, Flame and Citron is based on the premise that those who defied the Nazis lived on the margins, the kind of people who were looked down upon before the war and had absolutely nothing to lose. Flame (a reference to his blazing red hair) is at the very least a sociopath. He enjoys - possibly relishes - killing. Citron is a wounded, morose and completely unemployable alcoholic and addict. As his wife tells him at a dismal birthday party for their young daughter, he wasn't much of a husband before the War either.
The other principals are Hoffman (Christian Berkel) a leader in the Gestapo; Aksel Winther (Peter Mygind), the Resistance leader who gives the duo their marching orders; and Ketty Selmer (Stine Stengade), with whom Flame is in love, even though both he and Citron are suspicious of her. None of these relationships is exactly transparent, however, and the political situation encourages all manner of treachery and realpolitik.
As we now know, many of the heroic tales about World War II were myths. Shady deals were made and rampant profiteering was common, frequently at high levels of government. Trenchant and relevant (the film evokes numerous parallels to the current situation in Iraq) Flame and Citron is courageous, complex and gripping, and has already become one of the highest-grossing pictures in Danish film history. (Steve Gravestock)
In response to a question about Ketty, director Madsen said, "No one knew what part she played around Flame and Citron until we dug it up. Few wanted to talk about it. Resistance has been trying to write them out - publicity. We found a receipt from the Nazis to her. Ketty had an affair with Flame and the Gestapo chief. Ketty did what she had to do. Actions of war could not be prosecuted. When the Nazi chieftain was 80 and living in Turkey he went on trial and that for acting with Mafia."
When asked about Danish audience reaction, Madsen said, "response was huge, controversial and much denial. There are things that we Danes do not talk about. It is about Good Danes and Bad Germans. We won, they lost... We wanted to bury the myth, wanted to have a debate."
Someone asked about the source of their code names. "Flame had red hair. Citron's father-in-law opened a factory to fix Citron cars of the Germans. He sabotaged them by pouring sugar in the gas line. He was found out and they blew his factory up. One of Flame's daughters committed suicide and the other had psychological problems."
When asked why the Gestapo leader was not assassinated, he said, "No one could touch Hoffman. There had been too much retaliation. Czech resistance fighters did and the Germans killed an entire village. There was no more Czech resistance.... Hoffman led a complex life. After the war he was returned to Germany and the Brits sent him back to the UK where he received a death sentence that was changed to life in prison and then changed to seven years."
"Flame was not a good soldier, too idealistic. Spex (Flemming Enevold) was a big hero after the war. In 1960 we learned he was a Nazi and had had people killed."
Press Conference at the London Film Festival
By James McCaskill and Annette Graham, DC Film Society Members
An Education is still playing going strong at three area theaters. This press conference was held at the London Film Festival. Present were director Lone Scherfig, writer Nick Hornby and actors Dominic Cooper, Carey Mulligan and Matthew Beard.
Question: Why did Lynn Barber's memoir prove irrestible?
Nick Hornby: I thought it was funny and painful and you don't get that very often in the same material. And it introduced me to a world I didn't know very much about which was England in the 1960s before the 60s happened. And some of those people--sort of bohemian underclass that Jenny ends up hanging out with--I didn't know anything about those people and I found it fascinating.
Dominic Cooper: I was attracted to it immediately because I knew it was Nick's original screenplay. I grew up loving his books but knew nothing about Lynn Barber's memoirs. But knowing it was a screenplay by Nick, I was very interested. I read it and loved it, the idea of everything about it. But then I didn't hear anything about it for months and then was told I need to be on set the following day to film. I said, "Absolutely."
Carey Mulligan: My main attraction was that Nick had written it and Lone was directing it and the people already attached--Emma Thompson and Peter Sarsgaard. Lynn Barber's story was important to me. But really the focus was the script because I wasn't playing a young Lynn Barber, it was a fictionalized version of her story. It's really rare to find a young female character that has a journey and especially someone so young. And I can play young. So I thought I might try to get this one.
Matthew Beard: I thought it was nice to see a male teenage character that wasn't either a complete jock or a complete nerd. He was actually quite nice, not on either side.
Lone Scherfig: I loved the tone and the period and David's character. They're all very typical for their time. When you read it you feel you are seeing them, meeting them, getting them off the page.
Question: Who are your influences? Who did you watch growing up?
Carey Mulligan: Emma Thompson was my biggest acting influence. Emma Thompson, Kate Winslet, Samantha Morton. When I started acting I was lucky enough to work with people like Judi Dench, Claudie Blakley and others who do film, theater and TV and keep finding interesting parts. Emma was probably the biggest influence so getting to work with her on this was pretty huge.
Matthew Beard: I'm from up North, so any northern actor who makes it is a hero in my eyes. I watch all films, any type of film and admire anything that anyone does. When you're young you have an idealized version of what it's going to be like to be an actor and how you're going to approach things. And then you get on set and it doesn't work out like that ever. And you slowly gradually build an appreciation for anyone who can pull off an amazing performance on set under pressure and time constraints and all sorts of other things. It definitely warps your opinions of other actors.
Dominic Cooper: I grew up watching a lot of theater. So my influences were people who were on stage more than film. I got more into film in the last few years. I grew up watching ridiculous 1980s teen films, I'm far too embarrassed to say who they were, who I was impressed by, who influenced me, it'll probably the end of anything I ever do again. That's why I'm trying to avoid this question.
Question: I particularly thought that the period was well captured--the montage at the beginning and the costumes and the high elastic belt that Jenny wore. I wondered whether you had any advice from Lynn Barber or how you came to so exactly capture the right period?
Lone Scherfig: I didn't do it myself. I was surrounded by a really good crew of all ages. I think it's important to have a good age range in the crew so that some of us had experienced that period or close to it. But the script is really inspiring and you just have to trust that sometimes on film a glass can be as big as a car. The details are right and they may take up as much space on screen as the streets that we didn't have a chance to show because most of London really has changed. We worked hard to not just get things right and authentic but also make it consistent and visually right because actually there are some changes. For instance there are colors that are not at all in the film that would have been there in reality. I think part of the look of the film not only has to do with how it's shot and lit but also the lack of certain colors gives it a softness that really suits it because it gives you more focus on the characters. There's no yellow for instance until you get to Miss Stubbs place at the end.
Nick Hornby: It was Lone's vision in terms of period details. But Lynn was very helpful about period, about language, cultural references, who would be the right artists to talk about. I had fun checking up on language as well, looking up the OED and finding out things like preggers and words like that, when was the first use in English popular culture.
Question: Was there anything about that year that interested you when you did research or read the script or read about that time? Anything from the 60s you wish you had experienced first-hand?
Carey Mulligan: From what I understand it wasn't a time when there were teenagers. You were either a child or you were a young adult. I like the idea that you went from one to the other and there was no time in between to be ridiculous. So I thought that was interesting. It was just not very interesting time; People would have been frustrated enough as a teenager. I certainly was at school. But to have everything added to that, that there's no rebellion, nothing going on, no fun in your world, must have been that much more frustrating. So that was an exciting place to start. And an easy victim to get picked up into something quite extraordinary. And I liked all the music. Lone gave me CDs of music to listen to that Jenny would have listened to. I thought the men looked beautiful especially. Mainly the men, that was my favorite thing.
Dominic Cooper: It would have been terribly exciting to experience the transition that was about to take place with music. The Beatles and Stones were recording. Music was about to change dramatically. I certainly never in my life experienced a culture that has changed that much. The film is set on the cusp of that. I think that would have been tremendously exciting to experience all those new things to be launched.
Lone Scherfig: We've tried to show how Jenny experienced things for the first time. I wouldn't want my own daughter to swap her life for anyone who was a teenager then. But certainly something has been lost and I hope that some of those values are to be found somewhere.
Question: Are you aware of reaction to the film? Do you google your own name? How are you handling all that?
Carey Mulligan: I'm aware of it in that people talk about it at things like this and talked about it in Toronto. I have googled myself and it's horrible because you think--that's really nice and then you read the next thing and it's horrible. So I thought that's bad, I won't do that anymore. And that was awhile ago. So no, I don't think that's a good idea. I had never been to a film festival before Sundance and I'd never played a lead in a film. When it got picked up that was huge and everything since then has been even more huge. It's afforded me opportunities--I would never have had access to the parts that I've managed to play this year. And that's been amazing. Because that's what you want. I don't wake up in the morning and think oh, what am I going to wear to a premiere. I think oh, I can't remember my lines and my work today. As long as I get to keep playing interesting parts which I'm really lucky to do, then that's the number one thing. And everything else is great. Because that means more people will see the film and that's number two on the list.
Question: Nick, which area of your life has given you the best education.
Nick Hornby: I wouldn't like to choose one area of life in particular. I know it wasn't education. I can definitely rule that out. I would say family, children and also the stuff that I've discovered for myself ever since I've been a teenager. Movies, music, books, but as long as they are self-motivated discoveries rather than anything imposed on me. That was when education didn't work for me. And I think that's mirrored in the film a little bit. That is the position that Jenny arrives at. She got there a lot quicker than I did.
Question: Nick, the author of book is a woman, and the lead is a woman. Was it difficult for you to enter into their lives and into the soul of the young middle-class woman with all the dreams. You wrote as a woman. Is the process of screenplay for you totally different from the process of writing a book?
Nick Hornby: In terms of the woman thing, if it's such a big problem for you as a writer, you probably shouldn't be writing. In any kind of fiction, you have to write about people who are not yourself. And gender is one aspect of that, but there is age, there is class, there is nationality, there's all sorts of things that you have to assay at some point in your career. And you just trust that you've been able to observe enough over the years to get it right. I was surrounded by women on this project. The two main producers are women and it's very helpful to have a female director. I had Lynn's source material, I had the experience of my own teenage years, sisters. You just hope and trust your own powers of observation. In terms of writing a screenplay of course there are some things that are technically different but it's not particularly that which I noticed. It's more the difference in the process. Movies are an insane industry compared to books. Books are quite straightforward. You write one and If they like it they will publish it and that's it. Whereas in movies there are many many many reasons why they want to make a film or not make a film, none of which have anything necessarily to do with the script. So that's a big difference.
Question: What were you like when you were teenagers? Were you rebellious or were you quite well-behaved?
Dominic Cooper: I stupidly ignored education completely and couldn't understand what I was doing there or what people were trying to teach me. I found it particularly dull and I much preferred interacting with people and causing chaos and having fun and now regret this massively. But luckily I just managed to get some sort of academic results to lead me onto the next section of life. But I was terribly rebellious and feel very guilty toward the teachers who were prepared to spend their time trying to teach a bunch of morons stuff that they weren't prepared to learn about. I blame the school. I couldn't really understand why in geography I wasn't learning about places and countries--I was learning about texture of soil and density of acidity.
Carey Mulligan: I was quite straight-laced. I was quite academic until I was about 14. Then I went to boarding school where I had the opportunity to continue to be very academic but I just got less interested and became more involved in acting. Nothing professional but I just sort of lost interest. When I was applying to universities I applied to drama school without telling anyone and didn't get into drama school. And then I got into a bit of trouble. That was the most rebellious thing I did. I was still applying to go to higher education so it wasn't like anything dreadful. So I was pretty dull really.
Matthew Beard: No, I really wasn't rebellious. I'm at university now and I like it. But I'm the opposite from Dominic--I look back and think about all the possibilities I had for rebellion and didn't take any of them. And as Nick says, education is the smallest part of my education. So I probably should have taken more advantage of those.
Question: Carey, How daunting was it to play 6 years younger than your real age? In the production notes you say that as a schoolgirl wearing a uniform people reacted to you differently. How did the four of you get along on the set?
Carey Mulligan: I've always played parts younger than myself. When I was 19 I did a play where I was 14. So I've always gone back four or five years. It's rare that I play an adult. I didn't worry about that too much. You have an age range that you play. Sixteen was in my age range. When you put on the school uniform you don't wear any makeup and you wear your hair a certain way. You feel very young. I was around 16 year old extras and the part was written so well I understood her as a sixteen year old. We were pros on set. We didn't mess about too much.
Lone Scherfig: I was happy and relieved that you got along so well. It's easier to be funny when you are in good company. Running risks is an important element of good film acting. That's why I was happy that Rosamund and Carey knew one another beforehand and that we all immediately loved Dominic, and the more we got to know him the more reason we had. And Peter Sarsgaard is an unbelievably good colleague. He set a high high standard for work ethics from his very first day. Never complaining, never homesick, never jet lagged, nothing. He just set a really good example. I've been talking so much about discipline and high skills of Britsh actors seen from my Danish point of view but I have to say that Peter is unusually disciplined and humble.
Question: Carey, You mentioned you didn't get into drama school. Could you tell us how you felt about not getting into drama school at the time and how you feel now about it? Did it help? How did you made the jump without doing that?
Carey Mulligan: I applied to three and went to auditions and it's still the most terrifying experience in my whole life. In one I had to stand up on stage in front of 10 other people in the same group and do my piece. I did Shakespeare and I've never had any training in Shakespeare. It was a nightmare. And when I didn't get in I was disappointed, but 3,000 people apply to each these places every year and it's hugely competitive. I did some awfully pretentious monologue about suicide and I come from a really happy life and it wasn't working for me. So that wasn't a huge surprise really. I always wanted to go. I was in New York last week and went past Juillard and I kind of pined for it. That was my dream for years and years--to go and train and spend three years just acting. I think it's so personal. Dominic went and he's doing alright. And some people don't go and they do brilliantly. There are things I miss from not having trained and I think I'd be more confident on stage had I gone because you are equipped with vocal training and things like that. But in general it's worked out very well. I've been really lucky. But I would have loved to have gone. I might still go. I feel like I missed out on certain aspects, technical things that I haven't had from acting.
Question: Nick, do you write your scripts with actors in mind? Carey, was this a film that you auditioned for?
Nick Hornby: I think it was impossible to write this screenplay with actors in mind. I knew that we were going to have to cast an unknown in the lead role. I had no idea who that unknown would be by definition. So I couldn't think about it. I just don't know enough about it. We had a brilliant casting director and they're so clever coming up with ideas. Lucy [Bevan] had seen Carey in a few things before. So of course I was completely delighted with that. No, I've never been able to envision actors.
Carey Mulligan: I auditioned with Lucy [the casting director] and then I went in and read with Peter and then read with Lone, so that was three auditions, over a year and a half.
Question: Dominic, I think your character is one of the most interesting in the story. You are rich, you are cynical, you have everything the others don't have. Can you tell me something about your character, this kind of man who is cynical but also sentimental because he knows but doesn't tell anything?
Dominic Cooper: I found him quite interesting because he's the one person who is from the world in which the others are desperate to be a part of. I think he probably comes from a very affluent, very educated world. He has everything he desires, he has very particular tastes, he knows all the things he likes and wants. He has enough wealth which always begs the question of why on earth he goes around stealing pictures off old women's walls late at night and it's probably for the absolute thrill of it. I think he probably lets things pass with his friend. I feel like he's probably seen this happen time and time again although that's not necessarily the case. I think suddenly he's confronted with a girl who enters his world who is fascinated and as excited as he is in all the riches that he has and the culture and music that he's interested in and I think that completely throws him. And actually for once he makes a stand against his friend and feels probably a lot of care and almost love towards this girl. He vaguely says something; he sort of mentions it to his friend. It's a difficult thing to confront a friend and say I don't agree with what you're doing and I'm very concerned that you're going to end up hurt someone I care for. He does it vaguely. And then ultimately I think he becomes rather nasty again and very shielded. When he is confronted by Jenny: Why didn't you tell me? Why didn't you help me? he throws it back in her face, he doesn't take any of the blame or any of the responsibility. So there's a very dark side to him. But he attempts to have some sort of moral value at some point. But I'm interested in why he goes around stealing pictures.
Nick Hornby: I imagined he is from that world. He has a public school education and there is wealth in the family. But I think he's one of those people who dropped out of public school, didn't go to university. Actually a lot of his wealth is self created. He has developed these properties and stolen bits of art and made money that way. Even though he's comfortable in the world of privilege, he hasn't actually taken any benefit from it and everything you see that he's surrounded with, he has gotten for himself.
Question: Carey, Were you at all tense about how your relationship with Peter's character would play out on the screen?
Carey Mulligan: No, I wasn't nervous beyond the generous nerves I get playing any part. It takes me a couple of days to settle in. I always write off the first couple days of any film, because it's going to be me just nervous and self conscious and terrible. With Peter, I think I understood the way that he was going to play it and the way that Nick intended it to be played and that he's not a sexual predator. Those scenes where he makes those inappropriate mistakes just make him more endearing and in a way make him fallible which brings him off his pedestal that he's on when I first meet him. Because he's not a cultured god, he's more like I am, which brings him closer. And the intimacy scenes never worried me because I had no doubt that there was never going to be anything more than the most modest and most appropriate way which was perfect.
Question: Carey, This is generating a lot of buzz. But the downside of that means you are going to get a lot of attention paid to you by the British press especially, who you are dating, who you are not dating, what you are wearing, what you look like, all that kind of thing. Are you braced for that? How do you handle that? Dominic: Do they teach you that at drama school. How does that work?
Carey Mulligan: When you do bigger jobs you get more attention. I wouldn't have gotten Wall Street II if I hadn't done An Education. But when you film in New York you get a ton of paparazzi every day and it affects your work because you're trying to think about the person you are acting and you've got 20 other lenses taking pictures of you at the same time. So it throws you. I'm not great at having my picture taken and I don't enjoy that side of it very much. But I enjoy being with my friends and it's nice to have a reunion. I've got an amazing job and the film is doing really well. I get to work with brilliant people. And then there's a 2% downside of slightly negative stuff on the internet and having my picture taken. But in general everything is pretty brilliant. So it's hard to feel that concerned about it.
Dominic Cooper: I love the idea of there being a lesson on how to handle press and paparazzi. It would be brilliant. You're mostly being taught how you're going to cope with never ever working again in your entire life. There isn't enough work done on film in drama school.
Question: Nick, earlier you talked about never knowing if a film will be made. Did this turn out better than you ever imagined?
Nick Hornby: Yes. When I think I never imagined that we would get a cast like we have. [Producers] Amanda [Posey] and Finola [Dwyer] were so ambitious for my script. I was always embarrased when they said they're going to try Dominic. "He won't want to do this." There was a lot of that going on. You cannot possibly predict just what a good cast can bring to a project. So I thought in my head there was this good version and it would not achieve that, it might come close but it wouldn't get at what I imagined. But in fact when I see the finished product, it's way beyond anything I could have thought about it. It's partly Lone's visual imagination and the performance of the cast. They always bring things out of lines where there was nothing to get anything out of. Matthew came to the read through and got a laugh from the word hello. I'm looking at the script and thinking "you cheeky bastard, there was no laugh in this line, and he's got one." And he gets one in the film as well. And that's what a good cast can do for you.
An Education is currently playing at Landmark's E Street Cinema, the AFI Silver Theater and Landmark's Bethesda Row Theater.
Thanks to the London Film Festival for permission to use this press conference (edited and condensed).
Calendar of Events
American Film Institute Silver Theater
On January 18 at 11:00am and 1:00pm is King: A Filmed Record ... Montgomery to Memphis (Sidney Lumet and Joseph L. Mankiewicz), a compilation of documentary footage of Martin Luther King Jr.
Freer Gallery of Art
The Freer's 14th annual festival of Iranian film shows recent works in January and February. On January 8 at 7:00pm and January 10 at 2:00pm is A Man Who Ate His Cherries (Payman Haghani, 2009) preceded by a short video Consulting God (Mohammad Sadegh Jafari, 2008), a documentary about Iranian clerics who use the internet. On January 29 at 7:00pm and January 31 at 2:00pm is Shirin (Abbas Kiarostami, 2009). Kiarostami's multi-screen video installation The Spectators can be seen on January 23 at 1:00pm and 3:00pm and January 24 at 2:00pm. More in February.
National Gallery of Art
"Homage to Merce Cunningham" is a tribute to Merce Cunningham who died last year. On January 3 at 2:00pm is Cage/Cunningham (Elliot Caplan, 1991). On January 9 at 4:00pm is Merce by Merce by Paik, Part I and II (1978) followed by Walkaround Time (1973) with an introduction by John Hanhardt.
"What You See Is What You See" is a series of documentaries from the 1960s and 1970s. On January 2 at 4:00pm is "Painters Painting" (Emile de Antonio, 1973); on January 7 and 8 at 12:30pm is "Jasper Johns" (1966) and "Barnett Newman" (1966); on January 14 and 15 at 12:30pm is "New Abstraction: Morris Louis/Kenneth Noland" (1966) and "New Abstraction: Frank Stella/Larry Poons" (1966); and on January 21 and 22 at 12:30pm is "Jasper Johns: Take an Object" (1990) shown with "Homage to a Square: Joseph Albers" (1970).
"Celebrating Chekhov on the Russian Screen" celebrates Anton Chekhov's 150th anniversary with a series of seven Russian film adaptations. On January 16 at 4:00pm is An Unfinished Piece for a Player Piano (Nikita Mikhalkov, 1977); on January 17 at 5:00pm is the Washington premiere of Ward No. Six (Karen Shakhnazarov, 2009) with the filmmaker present; on January 23 at 2:30pm is Uncle Vanya (Andrei Konchalovsky, 1970); on January 24 at 4:30pm is A Hunting Accident (Emil Loteanu, 1978); on January 30 at 2:30pm is The Seagull (Yuli Karasik, 1970). Two more in February.
Other film events at the Gallery include "Process in Time: Shorts by Richard Serra" on January 2 at 2:00pm; and the Washington premiere of "15 Days of Dance: The Making of Ghost Light: Day 3, Morning" (2009) with director Elliot Caplan present and on January 31 at 4:30pm is "15 Days of Dance: The Making of Ghost Light: Day 8, Evening" with Elliot Caplan present with dancers from the American Ballet Theater. On January 9 at 2:00pm is a "Cine-Concert" with Donald Sosin accompanying D.W. Griffith's Lady of the Pavements (1929). Award winners from The International Festival of Films on Art will be shown January 10 at 4:00pm and January 16 at 12:30pm. Titles include Zora Neale Hurston: Jump at the Sun (Sam Pollard), Karsh in History (Joseph Hillel), Anthony Caro: La sculpture comme religion (Alain Fleischer), Oslo Opera House (Anne Andersen), Boris Ryzhy (Aliona van der Horst) and Solo--Boguslaw Schaeffer (Maciej Pisarek).
National Museum of African Art
On January 9 at 1:00pm is a double feature Breathless (Jean-Luc Godard, 1959) shown with Last Year at Marienbad (Alain Resnais, 1961), both French New Wave films.
Museum of American History
On January 26 at 6:30pm is "For Love of Liberty: The Story of African American Patriots," a 40 minute preview of a documentary by Frank Martin. The filmmaker will be prsent for discussion.
Smithsonian American Art Museum
Two documentaries on important figures in American music are shown in January. On January 14 at 6:30pm is Pete Seeger: The Powr of Song (Jim Brown, 2007) and on Janaury 28 at 6:30pm is Thelonious Monk: Straight No Chaser (Charlotte Zwerin, 1988).
Washington Jewish Community Center
On January 7 at 7:30pm is The Gift to Stalin (Rustem Abdrashev, 2008), which was the closing night of the Washington Jewish Film Festival in December. On January 17 at 3:00pm is Garbage Dreams, part of the "Community Cinema Cafe," a monthly program of films and discussions. On January 26 at 7:30pm is the Washington premiere of Menachem and Fred (Ofra Tevet and Ronit Kertsner) with the filmmakers present for discussion.
On January 4 and 11 at 6:30pm is Dresden (Roland Suso Richter, 2006), last in the series "History in Film."
"Film | Neu" features the latest in German, Austrian and Swiss films. Ten films will be shown January 22-28 at Landmark's E Street Cinema.
On January 13 at 7:00pm is Ricky (François Ozon, 2009) starring Sergi Lopez and Alexandra Lamy.
On January 16 at noon is To Kill a Mockingbird (1962) starring Gregory Peck.
As part of the "Czech Lions" series is Guard No. 47 (Filip Renc, 2008), on January 13 at 8:00pm; the film was winner of the Czech Lion in 2008 for Best Film Editing, Best Actor in a Leading Role and Best Actor in a Supporting Role.
This month's French Cinematheque film is Les Grandes Chaleurs (Heat Wave) (Sophie Lorain) on January 20 at 8:00pm.
Anacostia Community Museum
On January 12 at 10:30am is "Black Georgetown Remembered," a film honoring the African American community of Georgetown through recollections of its residents. Discussion follows.
On January 21 at 7:00pm is Nuba of Gold and Light (Izza Genini, 2007) about "nuba," a style of music that flourished in the courts of the Andalusian caliphs 500 years ago.
On January 23 at 8:00pm is a "Smithsonian Sleepover" for kids with a viewing of Night at the Museum: Battle of the Smithsonian on the Johnson Theater's IMAX screen. Reservations must be made: visit the website for more information.